Culture
What I learnt meeting Arne Slot: charismatic, innovative – but a big bet by Liverpool
When, as expected, Arne Slot arrives at Liverpool’s training centre this summer, he will find at least one amenity perfectly to his taste. Slot is among the growing cast of top-level individuals in football hooked on padel, the high-paced racket sport that lands somewhere between tennis and squash.
At Feyenoord’s training base in the Dutch city of Rotterdam, chief executive Dennis Te Kloese promised Slot the club would install a padel court — on the condition they won the league title. Slot made them Eredivisie champions last season, and the padel court soon followed.
It means there is at least one shared trait between Slot and his Anfield predecessor Jurgen Klopp; the German has his own court at Liverpool’s training centre, competing against members of his backroom staff and calling padel “the best game I’ve ever played” (apart from football).
GO DEEPER
Football’s biggest stars are in love with padel. Why?
After Liverpool and Feyenoord agreed terms for Slot to replace Klopp this summer, many Liverpool fans wondered quite what to make of it and how well-suited the 45-year-old Dutchman is to replacing the club’s most popular and successful manager of the Premier League era. As ever, hasty opinions form, often conditioned by framing.
On the one hand, Slot is one of only two Feyenoord managers to win the title this century and he became the first coach to take the club beyond the group stage in a European competition since 2015, reaching the inaugural final of the Europa Conference League in 2022 and the Europa League quarter-finals last season in parallel to claiming the domestic championship.
He won that title despite retaining only four players from his starting line-up in that Conference League final. Sales from that side raised €70million (£59.9m at the current exchange rate) in fees, and just over 40 per cent of that was reinvested as Feyenoord pursued financial sustainability after too many years of financial mismanagement. Of their 12 permanent signings, not one was aged 24 or over.
This season, while again recording a positive net spend, Feyenoord are going to finish as runners-up, second to a freakish performance from PSV Eindhoven (who have won 27 and drawn three of their 31 league games so far), and will beat last season’s points tally of 82 if they win their last three matches. They won the Dutch equivalent of the FA Cup final just over a week ago.
This version of the story, therefore, is largely of consistent development and excellence.
Slot kisses the Eredivisie champions’ trophy (Olaf Kraak/ANP/AFP via Getty Images)
Others, however, may take an alternative framing. They may question if Liverpool are taking an almighty gamble on a man who has only five seasons of experience as a head coach, all of which have been in the Netherlands, outside of European football’s elite, and one of which was in his homeland’s second division.
Slot has coached only one campaign in the group stage of the Champions League, winning two of six games against Atletico Madrid, Lazio and Celtic, and losing the rest to fail to progress into the knockout phase.
In almost three full seasons as Feyenoord manager, Slot has never lost consecutive league games, which is incredibly impressive, but means there is no evidence-base for how he may handle the longer periods of difficulty which are more likely in the fiercely-competitive Premier League, even with a club among its elite.
At Feyenoord, no player recruited for Slot exceeded the €9million initial fee spent on Japanese striker Ayase Ueda from Belgian side Cercle Bruges last summer, and the highest player wage is believed to be around €40,000 a week. At Liverpool, he will inherit players such as Alisson and Virgil van Dijk, who were signed for eight-time multiples of Ueda, while Mohamed Salah earns £350,000 a week.
It all serves to underline the comparative dimensions of Liverpool and the potential culture-shock of what’s expected to be his new job; where man-management as well as coaching will be crucial.
Liverpool have over 37 times more followers on X, formerly Twitter, than Feyenoord’s 649,000; the media demands, global interest and revenues all dwarf those at his current club. The former Liverpool defender Jamie Carragher, writing in the UK’s Daily Telegraph newspaper after the Slot news broke, said: “For the last nine years, Liverpool have possessed one of the top two managers in the world. They are now gambling on the next big thing rather than appointing a proven, real deal.”
The truth is nobody can predict with certainty how any manager may fare at a new club but what we can do is consider some of the factors that may have persuaded Liverpool.
Last summer, The Athletic was provided with a window into Slot’s Feyenoord kingdom, receiving a full day of behind-the-scenes access. And on that day he was truly king of the castle, because Feyenoord had just clinched the title and it corresponded with the day he signed a new contract, having rejected the opportunity to join Tottenham Hotspur, who went on to appoint Ange Postecoglou. He has also remained faithful when two more Premier League clubs, Leeds United and Crystal Palace, came knocking earlier in the calendar year.
Our trip to Rotterdam included more than seven hours of interviews with Slot, CEO Te Kloese and their head of sporting strategy Matt Wade, as well as extensive time with their scouting team and performance staff. It was a 360-degree examination of a club who had dramatically reformed their structure and performance, and offered rare insight into a man upon whom Liverpool’s incoming sporting director Richard Hughes and Michael Edwards, the club’s former sporting director back after two years away in a new role as owner Fenway Sports Group’s CEO of football, are now preparing to stake their reputations.
Slot is popular with his players (Broer van den Boom/BSR Agency/Getty Images)
As for initial impressions, Slot appeared charismatic. But maybe you would be pretty affable too when you have just signed a new contract — a deal which removed a €5million release clause from his previous deal, which would have otherwise come into play this summer. That left Feyenoord able to negotiate last week anywhere between €11million and €15m out of Liverpool, depending on which club’s briefings of their final agreement that you choose to believe.
His grasp of English is easier on the ears and more lucid than his compatriot Erik ten Hag, who has sometimes struggled to convey the necessary charisma to both players and supporters in his near two seasons as Manchester United manager. And there were times, when Slot spoke, where the meaning behind his words could easily have come out of Klopp’s mouth.
When explaining why he had chosen to remain at Feyenoord, he talked of the need to “cherish what you have” within an environment, taking pleasure from the way you work and those you work alongside. He said success ought not to be measured by prizes alone. This, however, was tinged with a sense of realism that will be required at Liverpool. At one point he quipped: “If a coach only talks about the process, then nine out of 10 times, the results are bad.”
He talked of not wanting to be perceived as somebody who passes through, but as somebody who weaves a legacy into a club. He appeared genuinely touched when I told him how, during the previous evening, I had met a Feyenoord fan who credited Slot for not only winning more points than Ajax, Amsterdam’s 36-time Dutch champions, but allowing that supporter to believe for the first time that his team played prettier football than their arch-rivals, a club so closely connected with the ‘total football’ concept.
When he discussed what he seeks from his players, Slot said he initially “emphasised players who are not maybe the best in the world, but who brought energy to the team and also to the stadium”. It is an ingredient which may be needed at Anfield, where the home team feed off the adrenaline shots being pumped out from the stands. He wanted to know how his players conveyed themselves in the media, because that, he said, contributes to the culture.
Liverpool’s academy has proven fertile ground this season, as Klopp promoted talents including Conor Bradley, Jarell Quansah, Bobby Clark and Jayden Danns. Expect that to continue under his successor. Slot awarded 12,334 minutes to academy talent in the season Feyenoord won the league. During our visit, he reflected, “Youth players in your first team give energy. And if people feel they can grow inside the club, that drives the culture. I don’t believe that much in experience; I believe more in game intelligence, and young players can have much more than an older player.” He said this mindset, where anybody can progress, should extend beyond the dressing room, citing how Frank Boer, a former marketing department intern at the club, had gone on to become their team-manager, overseeing player care.
As with Klopp, he demonstrates empathy and care for younger generations. He looks with concern rather than bitterness towards the smartphone generation. “It’s much more difficult nowadays to play football,” Slot said. “Social media, being judged by everyone; more negative than it was in my day. And these guys now need to be so much fitter — really top athletes. So, yes, a big chance to earn a lot of money, but the pressure is higher than it was 20 years ago.”
The data says that Slot’s training sessions, with drills often devised by his assistant Sipke Hulshoff, motivate his players. The playing and training availability of squad members hit 90 per cent in each of his first two full seasons at the club. Leigh Egger, one of the club’s performance leads, said: “The training sessions are constantly changing. They hit the sweet spot of overload, tactics and physical demand. It makes our job in performance easier, because the players really want to train all the time. You see it also with the substitutes, who may have every right to be disappointed at not playing, but our training availability is so high because the sessions are stimulating and really fun, from a footballing regard.” Hulshoff, who is also in the backroom staff of the Dutch national team, is Slot’s first assistant on a matchday, and often seen in the dugout.
Slot wants his environment to be positive and favourable. He listens and collaborates, traits which cannot always be taken for granted at the highest level of sport. There is a system of fines for players, including for being late to a game or missing a team bus, but he is not a disciplinarian by nature. He does not see his role, or those of his staff, as akin to schoolteachers but rather to provide information, and give players every opportunity to make the healthiest choices.
One of Slot’s colleagues said they never once heard him raise his voice at the training ground.
Te Kloese, the CEO, said: “His player management is very unique — humane and thoughtful. He gives players a clear game plan, so players feel safe under him.” Players have often been heard speaking to one another after a game, saying how the action unfolded exactly how Slot had predicted, and how his instructions helped them overcome opponents.
Yet Slot’s success does not exist in a vacuum. It required uniformity of vision.
“Topsport”, as Feyenoord describe their culture, is applied across the club, which means consistency across the senior squad, the medical and performance teams and the academy. Under Liverpool’s sporting-director model, albeit with Edwards sitting at the top, the club want the person who’ll be their head coach, not manager, next season to co-exist within this framework, and at Feyenoord, Slot has demonstrated a willingness to do that.
The most successful clubs these days have departments across the board who communicate and support one another, rather than operating as separate siloed operations. In the case of recruitment, therefore, we know Liverpool leaned heavily on their data and research analysts during Edwards’ reign as sporting director, with the data operation identifying the potential of then Roma forward Salah to excel in the Premier League, even after a difficult period at Chelsea earlier in his career.
Hulshoff, right, is Slot’s top assistant and also works with Ronald Koeman and the Dutch national team (Olaf Kraak/ANP/AFP via Getty Images)
As Klopp grew more successful and powerful at Liverpool, his personal grip on recruitment became stronger, but while the club will welcome input from a head coach, they would like to simplify the role and allow that person to concentrate on the demanding bread and butter of developing players, preparing a team and selecting the line-up for the next match.
None of which means recruitment teams and a head coach should be in conflict. Rather, if it works how it has at Feyenoord, the scouts and analysts spend time with the coach, study his setup and firmly understand his style of play. Then they have a prescription for the type of players needed for the coach to excel, and so go off and work to identify options.
What Liverpool would wish to avoid is relying on the knowledge base of a coach, as rivals United appear to have done at times under Ten Hag, who has consistently looked to the Dutch market with which he is most familiar, as well as at players he has coached before, when it comes to signings.
At Feyenoord, Slot is invited into recruitment meetings and asked his opinion. Often, he has agreed with the evidence presented to him. There were times he suggested players he coached elsewhere, or made some pretty obvious suggestions from rival clubs such as PSV. There were other times he would swiftly decline options presented by scouts, based on a limited amount of video footage. None of which are automatically negative things — Lisandro Martinez, for example, has proven to be a fine signing for United having played for Ten Hag at Ajax. Yet when Feyenoord made signings, even if the one who came in would not always be his first preference, Slot never held a grudge against the players concerned and devoted all his time and energy to maximising their talent.
At Feyenoord, he has learnt to trust the scouting department, who strongly proposed the defender David Hancko after one scout had followed him from the academy of Slovakian club Zilina since his teenage years, with the player soon becoming integral for Slot. They then unearthed a $4million striker in Santiago Gimenez from Mexican side Cruz Azul and Slot’s confidence in the club’s deal-making, led by Te Kloese, was underlined when the CEO’s contacts in Mexico enabled him to beat clubs such as Porto and Benfica to Gimenez.
Slot has turned Gimenez into one of the most wanted players in Europe (ANP via Getty Images)
Signed in July 2022, Gimenez became Slot’s top goalscorer and the 23-year-old will this summer be one of the most in-demand young forwards in Europe. Other players, such as Mats Wieffer and Igor Paixao, emerged from the second divisions in the Netherlands and Brazil — Wieffer is now a full Dutch international and Paixao scored Feyenoord’s winner in that recent cup final.
Christos Akkas, a Feyenoord scout, said: “The coach was very specific about what he wants to play and we were able to capture from a data perspective, from a scouting perspective, but also from a mental, physical, technical, tactical perspective, exactly how he wants to play. And then the club set some rules. So we never sign an older or more expensive player than the one who is being replaced. Then we narrow down our search and, within that range, find the most suitable player.”
As Slot’s style of play requires intense levels of fitness and high cognitive ability — Akkas said players have commented how much thought is required on the pitch — scouts would leave no stone unturned. In some cases, this meant following potential recruits to their homes, to see what time the lights went off in the evening. This was particularly important because Rotterdam is a city of nightlife attractions, so there was little use in them signing a party-animal when intellectual and physical endurance is required every day.
As for the football, Slot does not disguise that he admires Pep Guardiola. There are traits that mirror much of what we have seen from Manchester City under the Spaniard, particularly the ferocious pressing to recover the ball and possession-based build-up.
In one of his first team meetings at Feyenoord after joining in summer 2021, he told his players that the Champions League final between Chelsea and Manchester City a few weeks earlier produced so few chances (a combined three shots on target) because of the defensive work applied by forwards on both teams.
On the ball, he likes his right-backs to drift into midfield, so expect Trent Alexander-Arnold to continue in that role, because Slot’s teams tend to build up with three men in defence and two in midfield, even if the starting formation is more of a back four. Each season, he has slightly modified how his team build out from the back, so as not to become predictable.
Alexander-Arnold’s ‘midfield’ role is unlikely to change (Clive Brunskill/Getty Images)
In central midfield, he likes players who make “depth runs” — fast, explosive moves from deep which can penetrate opposing defences. Midfielder Orkun Kokcu, now with Benfica, needed to physically adapt to increase his explosiveness over the first few yards during his time at Feyenoord, even getting a gym installed at home, where he would receive regular text messages from Slot asking for updates on his progress.
Then there are the wingers, who he wants to isolate in one-on-one duels. This is why he brings his full-backs into central areas in the first place — to crowd the middle of the pitch, dragging opponents in to create one-on-one scenarios for those wide men. He said: “If you look at Roberto De Zerbi at Brighton, or Napoli (as they won the Serie A title last season, under Luciano Spalletti), or Man City or ourselves, we’ve got wingers who dominate these situations and that is what you need. That’s why I asked Dennis (Te Kloese, the CEO) at the beginning of the season for a lot of wingers, because you can’t expect every winger to perform in every single game and outplay their opponents. So that’s why they are the players substituted most often.”
At Liverpool, where Edwards and Hughes have strong reputations for identifying talent and deal-making, Slot should be prepared to delegate on signings.
It is not only within the field of recruitment where Slot has shown a preparedness to buy in. Feyenoord’s director of medical and performance Stijn Vandenbroucke has worked in his field for over two decades and he gushed as he described how the coach had complemented the club’s overall vision, all of which meant Feyenoord regularly excelled on “physical parameters, injury availability, winning games and physically outworking the opposition” — some pretty useful traits for a football club.
Vandenbroucke detailed the club’s approach to combining biological, psychological and social needs of players, to aid the individual and the team’s overall development.
Take, for instance, the case of striker Gimenez, where Slot was prepared to take a medium-term view after he arrived from Mexico.
When Feyenoord look at possible signings, they not only have their scouts observe the player, but the club’s performance and medical departments, too. Sometimes, the football staff will flag limiting factors that should be improved by the performance team (strength or speed, for example) and on other occasions, as was the case with Gimenez, the observations can come from the performance end. For Gimenez, they analysed his running style and noted he needed more “control around his trunk and pelvis” to avoid injuries and physically compete at the highest level. The observations are based on screenings of a player’s movement patterns, in-game and on the training field.
Vandenbroucke said: “We came to a conclusion that we needed a few months to get him (Gimenez) up and running. Arne agreed and he is the only manager I’ve ever worked with who would do that. It meant accepting we cannot play him from the start of the game because we needed the time to put more into him to get the output in the later stage of the season.”
Gimenez therefore started only five games in his 2022-23 debut season before club football paused in the November for the World Cup held in Qatar during the northern hemisphere’s winter. The plan went so smoothly that, after the tournament, he started 20 of Feyenoord’s final 21 Eredivisie and Europa League matches, scoring in 12 of them and finishing as their 20-goal top scorer.
Klopp has at times shown patience of his own, most notably taking time to bed Fabinho and Andy Robertson into his Liverpool team after they were signed.
Slot was sufficiently secure in his own skin that he allowed the club to bring in a sports psychologist, Dan Abrahams, to help the players overcome the mental block that had prevented Feyenoord winning away to fierce rivals Ajax since 2005. Abrahams supported the team in this challenge, culminating in a 3-2 away victory in March 2023, and their superiority over Ajax was reaffirmed this season with a 4-0 win in Amsterdam last September and a 6-0 romp in Rotterdam this month.
Feyenoord’s superiority in that away game was such that Ajax’s fans forced play to be halted by throwing flares onto the field.
Slot believes in the science. His performance experts suggested that the players should seek to adapt their lives to revolve around upcoming kick-off times. For example, if Feyenoord are due to play a game starting at 9pm on a Friday, then the staff and Slot will make clear to the players via a text message that they should not be asleep at that hour on the previous evening and should be active, to avoid their circadian rhythm making them flat on matchday. The Feyenoord backroom team were tight-knit, both together and with the players, and it will be interesting to see how and if this can be replicated at a bigger club.
He is seeking to bring one of his heads of performance, Ruben Peeters, with him to Liverpool, along with Hulshoff. He has tried and failed to convince Marino Pusic, formerly an assistant at Feyenoord, to be on his Anfield staff because he only joined Shakhtar Donetsk as their head coach last October and wishes to remain in that job.
In Hulshoff and Peeters, Slot will have allies who would seek to replicate the high-performance environment I witnessed in motion at Feyenoord. Yet he is going to need more help. He will need patience from above when results inevitably do not always go to plan and the scorching spotlight of life in the Premier League life burns bright, he will need expertise from the club’s recruitment department and, most crucially, he will need to secure buy-in from players of a profile and reputation that is of another scale to what he has experienced so far in his brief managerial career.
With Slot, the ideas and smarts appear to be there — a modern coach for a modern structure; it is now up to him to make the leap and up to Liverpool to produce an environment in which he can truly thrive.
(Top photo: NESimages/Herman Dingler/DeFodi Images via Getty Images)
Culture
Famous Authors’ Less Famous Books
Literature
‘Romola’ (1863) by George Eliot
Who knew that there’s a major George Eliot novel that neither I nor any of my friends had ever heard of?
“Romola” was Eliot’s fourth novel, published between “The Mill on the Floss” (1860) and “Middlemarch” (1870-71). If my friends and I didn’t get this particular memo, and “Romola” is familiar to every Eliot fan but us, please skip the following.
“Romola” isn’t some fluky misfire better left unmentioned in light of Eliot’s greater work. It’s her only historical novel, set in Florence during the Italian Renaissance. It embraces big subjects like power, religion, art and social upheaval, but it’s not dry or overly intellectual. Its central character is a gifted, freethinking young woman named Romola, who enters a marriage so disastrous as to make Anna Karenina’s look relatively good.
It probably matters that many of Eliot’s other books have been adapted into movies or TV series, with actors like Hugh Dancy, Ben Kingsley, Emily Watson and Rufus Sewell. The BBC may be doing even more than we thought to keep classic literature alive. (In 1924, “Romola” was made into a silent movie starring Lillian Gish. It doesn’t seem to have made much difference.)
Anthony Trollope, among others, loved “Romola.” He did, however, warn Eliot against aiming over her readers’ heads, which may help explain its obscurity.
All I can say, really, is that it’s a mystery why some great books stay with us and others don’t.
‘Quiet Dell’ (2013) by Jayne Anne Phillips
This was an Oprah Book of the Week, which probably disqualifies it from B-side status, but it’s not nearly as well known as Phillips’s debut story collection, “Black Tickets” (1979), or her most recent novel, “Night Watch” (2023), which won her a long-overdue Pulitzer Prize.
Phillips has no parallel in her use of potent, stylized language to shine a light into the darkest of corners. In “Quiet Dell,” her only true-crime novel, she’s at the height of her powers, which are particularly apparent when she aims her language laser at horrific events that actually occurred. Her gift for transforming skeevy little lives into what I can only call “Blade Runner” mythology is consistently stunning.
Consider this passage from the opening chapter of “Quiet Dell”:
“Up high the bells are ringing for everyone alive. There are silver and gold and glass bells you can see through, and sleigh bells a hundred years old. My grandmother said there was a whisper for each one dead that year, and a feather drifting for each one waiting to be born.”
The book is full of language like that — and of complex, often chillingly perverse characters. It’s a dark, underrecognized beauty.
‘Solaris’ (1961) by Stanislaw Lem
You could argue that, in America, at least, the Polish writer Stanislaw Lem didn’t produce any A-side novels. You could just as easily argue that that makes all his novels both A-side and B-side.
It’s science fiction. All right?
I love science and speculative fiction, but I know a lot of literary types who take pride in their utter lack of interest in it. I always urge those people to read “Solaris,” which might change their opinions about a vast number of popular books they dismiss as trivial. As far as I know, no one has yet taken me up on that.
“Solaris” involves the crew of a space station continuing the study of an aquatic planet that has long defied analysis by the astrophysicists of Earth. Part of what sets the book apart from a lot of other science-fiction novels is Lem’s respect for enigma. He doesn’t offer contrived explanations in an attempt to seduce readers into suspending disbelief. The crew members start to experience … manifestations? … drawn from their lives and memories. If the planet has any intentions, however, they remain mysterious. All anyone can tell is that their desires and their fears, some of which are summoned from their subconsciousness, are being received and reflected back to them so vividly that it becomes difficult to tell the real from the projected. “Solaris” has the peculiar distinction of having been made into not one but two bad movies. Read the book instead.
‘Fox 8’ (2013) by George Saunders
If one of the most significant living American writers had become hypervisible with his 2017 novel, “Lincoln in the Bardo,” we’d go back and read his earlier work, wouldn’t we? Yes, and we may very well have already done so with the story collections “Tenth of December” (2013) and “Pastoralia” (2000). But what if we hadn’t yet read Saunders’s 2013 novella, “Fox 8,” about an unusually intelligent fox who, by listening to a family from outside their windows at night, has learned to understand, and write, in fox-English?: “One day, walking neer one of your Yuman houses, smelling all the interest with snout, I herd, from inside, the most amazing sound. Turns out, what that sound is, was: the Yuman voice, making werds. They sounded grate! They sounded like prety music! I listened to those music werds until the sun went down.”
Once Saunders became more visible to more of us, we’d want to read a book that ventures into the consciousness of a different species (novels tend to be about human beings), that maps the differences and the overlaps in human and animal consciousness, explores the effects of language on consciousness and is great fun.
We’d all have read it by now — right?
‘Between the Acts’ (1941) by Virginia Woolf
You could argue that Woolf didn’t have any B-sides, and yet it’s hard to deny that more people have read “Mrs. Dalloway” (1925) and “To the Lighthouse” (1927) than have read “The Voyage Out” (1915) or “Monday or Tuesday” (1921). Those, along with “Orlando” (1928) and “The Waves” (1931), are Woolf’s most prominent novels.
Four momentous novels is a considerable number for any writer, even a great one. That said, “Between the Acts,” her last novel, really should be considered the fifth of her significant books. The phrase “embarrassment of riches” comes to mind.
Five great novels by the same author is a lot for any reader to take on. Our reading time is finite. We won’t live long enough to read all the important books, no matter how old we get to be. I don’t expect many readers to be as devoted to Woolf as are the cohort of us who consider her to have been some sort of dark saint of literature and will snatch up any relic we can find. Fanatics like me will have read “Between the Acts” as well as “The Voyage Out,” “Monday or Tuesday” and “Flush” (1933), the story of Elizabeth Barrett Browning’s cocker spaniel. Speaking for myself, I don’t blame anyone who hasn’t gotten to those.
I merely want to add “Between the Acts” to the A-side, lest anyone who’s either new to Woolf or a tourist in Woolf-landia fail to rank it along with the other four contenders.
As briefly as possible: It focuses on an annual village pageant that attempts to convey all of English history in a single evening. The pageant itself interweaves subtly, brilliantly, with the lives of the villagers playing the parts.
It’s one of Woolf’s most lusciously lyrical novels. And it’s a crash course, of sorts, in her genius for conjuring worlds in which the molehill matters as much as the mountain, never mind their differences in size.
It’s also the most accessible of her greatest books. It could work for some as an entry point, in more or less the way William Faulkner’s “As I Lay Dying” (1930) can be the starter book before you go on to “The Sound and the Fury” (1929) or “Absalom, Absalom!” (1936).
As noted, there’s too much for us to read. We do the best we can.
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Culture
6 Poems You Should Know by Heart
Literature
‘Prayer’ (1985) by Galway Kinnell
Whatever happens. Whatever
what is is is what
I want. Only that. But that.
“I typically say Kinnell’s words at the start of my day, as I’m pedaling a traffic-laden path to my office,” says Major Jackson, 57, the author of six books of poetry, including “Razzle Dazzle” (2023). “The poem encourages a calm acceptance of the day’s events but also wants us to embrace the misapprehension and oblivion of life, to avoid probing too deeply for answers to inscrutable questions. I admire what Kinnell does with only 14 words; the repetition of ‘what,’ ‘that’ and ‘is’ would seem to limit the poem’s sentiment but, paradoxically, the poem opens widely to contain all manner of human experience. The three ‘is’es in the middle line give it a symmetry that makes its message feel part of a natural order, and even more convincing. Thanks to the skillful punctuation, pauses and staccato rhythm, a tonal quality of interior reflection emerges. Much like a haiku, it continues after its last words, lingering like the last note played on a piano that slowly fades.”
“Just as I was entering young adulthood, probably slow to claim romantic feelings, a girlfriend copied out a poem by Pablo Neruda and slipped it into an envelope with red lipstick kisses all over it. In turn, I recited this poem. It took me the remainder of that winter to memorize its lines,” says Jackson. “The poem captures the pitch of longing that defines love at its most intense. The speaker in Shakespeare’s most famous sonnet believes the poem creates the beloved, ‘So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee.’ (Sonnet 18). In Rilke’s expressive declarations of yearning, the beloved remains elusive. Wherever the speaker looks or travels, she marks his world by her absence. I find this deeply moving.”
“Clifton faced many obstacles, including cancer, a kidney transplant and the loss of her husband and two of her children. Through it all, she crafted a long career as a pre-eminent American poet,” says Jackson. “Her poem ‘won’t you celebrate with me’ is a war cry, an invitation to share in her victories against life’s persistent challenges. The poem is meaningful to all who have had to stare down death in a hospital or had to bereave the passing of close relations. But, even for those who have yet to mourn life’s vicissitudes, the poem is instructive in cultivating resilience and a persevering attitude. I keep coming back to the image of the speaker’s hands and the spirit of steadying oneself in the face of unspeakable storms. She asks in a perfectly attuned gorgeously metrical line, ‘what did i see to be except myself?’”
‘Sonnet 94’ (1609) by William Shakespeare
They that have power to hurt and will do none,
That do not do the thing they most do show,
Who, moving others, are themselves as stone,
Unmovèd, cold, and to temptation slow,
They rightly do inherit heaven’s graces
And husband nature’s riches from expense;
They are the lords and owners of their faces,
Others but stewards of their excellence.
The summer’s flower is to the summer sweet,
Though to itself it only live and die;
But if that flower with base infection meet,
The basest weed outbraves his dignity.
For sweetest things turn sourest by their deeds;
Lilies that fester smell far worse than weeds.
“It’s one of the moments of Western consciousness,” says Frederick Seidel, 90, the author of more than a dozen collections of poetry, including “So What” (2024). “Shakespeare knows and says what he knows.”
“It trombones magnificent, unbearable sorrow,” says Seidel.
“It’s smartass and bitter and bright,” says Seidel.
These interviews have been edited and condensed.
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Culture
Classic and Contemporary Literature From France, Japan, India, the U.K. and Brazil
Literature
FRANCE
According to the writer Leïla Slimani, 44, the author of ‘The Country of Others’ (2020).
Classic
‘Essais de Montaigne’ (‘Essays of Montaigne,’ 1580)
“France is a country of nuance with a love of conversation and freedom and an aversion to fanaticism. It’s also a country built on reflexive subjectivity. Montaigne reveals all that, writing, ‘I am myself the matter of my book.’”
Contemporary
‘La Carte et le Territoire’ (‘The Map and the Territory,’ 2010) by Michel Houellebecq
“Houellebecq describes France as a museum, where landscape turns into décor and where rural areas are emptying out. He shows the gap between the Parisian elite and the rest of the population, which he paints as aging and disoriented by modernity. It’s a melancholic and yet ironic novel about a disenchanted nation.”
JAPAN
According to the writer Yoko Ogawa, 64, the author of ‘The Memory Police’ (1994).
Classic
‘Man’yoshu’ (late eighth century)
“‘Man’yoshu,’ the oldest extant collection of Japanese poetry, reflects a diversity of voices — from emperors to commoners. They bow their heads to the majesty of nature, weep at the loss of loved ones and find pathos in death. The pages pulse with the vitality of successive generations.”
Contemporary
‘Tenohira no Shosetsu’ (‘Palm-of-the-Hand Stories,’ 1923-72) by Yasunari Kawabata
“The essence of Japanese literature might lie in brevity: waka [a classical 31-syllable poetry form], haiku and short stories. There’s a tradition of cherishing words that seem to well up from the depths of the heart, imbued with warmth. Kawabata, too, exudes more charm in his short stories — especially these very short ‘palm-of-the-hand’ stories — than in his full-length novels. Good and evil, beauty and ugliness, love and hate — everything is contained in these modest worlds.”
INDIA
According to Aatish Taseer, 45, a T contributing writer and the author of ‘Stranger to History: A Son’s Journey Through Islamic Lands’ (2009).
Classic
‘The Kumarasambhava’ (‘The Birth of Kumara,’ circa fifth century) by Kalidasa
“This is an epic poem by the greatest of the classical Sanskrit poets and dramatists. The gods are in a pickle. They’re being tormented by a monster, but Shiva, their natural protector, is deep in meditation and cannot be disturbed. Kama, the god of love, armed with his flower bow, is sent down from the heavens to waken Shiva. Never a wise idea! The great god, in his fury, opens his third eye and incinerates Kama. But then, paradoxically, the death of the god of love engenders one of the greatest love stories ever told. In the final canto, Shiva and his wife, the goddess Parvati, have the most electrifying sex for days on end — and, 15 centuries on, in our now censorious time, it still leaves one agog at the sensual wonder that was India.”
Contemporary
‘The Complex’ (2026) by Karan Mahajan
“This state-of-the-nation novel, which was published just last month, captures the squalor and malice of Indian family life. Delhi is both my and Mahajan’s hometown and, in this sprawling homage to India’s capital, we see it on the eve of the economic liberalization of the 1990s, as the old socialist city gives way to a megalopolis of ambition, greed and political cynicism.”
THE UNITED KINGDOM
According to the writer Tessa Hadley, 70, the author of ‘The London Train’ (2011).
Classic
‘Jane Eyre’ (1847) by Charlotte Brontë
“Written almost 200 years ago, it remains an insight into our collective soul — or at least its female part. Somewhere at the heart of us there’s a small girl in a wintry room, curled up in the window seat with a book, watching the lashing rain on the window glass: ‘There was no possibility of taking a walk that day. …’ Jane’s solemnity, her outraged sense of justice, her trials to come, the wild weather outside, her longing for something better, for love in her future: All this speaks, perhaps problematically, to something buried in the foundations of our idea of ourselves.”
Contemporary
‘All That Man Is’ (2016) by David Szalay
“Though he isn’t quite completely British (he’s part Canadian, part Hungarian), Szalay is brilliant at catching certain aspects of British men — aspects that haven’t been written about for a while, now updated for a new era. Funny, exquisitely observed and terrifying, this novel reminds us, too, how absolutely our fate and our identity as a nation belong with the rest of Europe.”
BRAZIL
According to the writer and critic Noemi Jaffe, 64, the author of ‘What Are the Blind Men Dreaming?’ (2016).
Classic
‘Memórias Póstumas de Brás Cubas’ (‘The Posthumous Memoirs of Brás Cubas,’ 1881) by Machado de Assis
“Not only is it experimental in style — very short chapters mixed with long ones; different points of view; narrated by a corpse; metalinguistic — but it also introduces an extremely ironic view of the rising bourgeoisie in Rio de Janeiro at the time, revealing the hypocrisy of slave owners, the falsehood of love affairs and the only true reason for all social relationships: convenience and personal interest. After almost 150 years, it’s still modern, both formally and, unfortunately, also in content.”
Contemporary
‘Onde Pastam os Minotauros’ (‘Where Minotaurs Graze,’ 2023) by Joca Reiners Terron
“The two main characters — Cão and Crente — along with some of their colleagues, plan to escape and set fire to the slaughterhouse where they work under exploitative conditions. The men develop sympathy for the animals they kill, and one of them becomes a sort of philosopher, revealing the sheer nonsense of existence and the injustices of society in the deepest parts of Brazil.”
These interviews have been edited and condensed.
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